When architects fulfilled their role as acousticians and structural engineers during the prime of concert room architecture, they resorted to well-established design elements in their conceptions to create exemplary halls. These key elements are being replaced by modern, high-technological solutions to make way for multifunctionally adaptable solutions. Animated by a conversation with Kurt Equiluz, my grandfather, who has longstanding experience as tenor in the choir of the Vienna State Opera, the question of the originally natural aspects of music arose to me. The choice of materials and structural elements, the segmentation of spacial elements and even the entry way already play a crucial role for our perception, regardless of modern microphone placement and multiple configurations in the concert hall. The historical analysis of classical concerts leads to the epoch of the First Viennese School by describing the first Schubertiaden in private parlours and then illustrates the development of towards the Grand Concert in the Wiener Musikverein, designed by Theophil Hansen, or the Franz-Liszt-Hall in Raiding. The tendency towards a sculptural gesture of the building and the necessary technological aspect are undoubtedly increasing nowadays, but which techniques were used by the acclaimed architects during the musical epoch of the First Viennese School? How did the developments in concert performance have impact the architecture and which influence does the retransition to a small-scale-concept yield? A building complex on the Leopoldsberg illustrates the approach to the design task in the context of a limited, vacant area with a view over the World Music Capital Vienna. The return to established design elements is in the foreground of the paper. Instead of dealing with multifunctional scenarios it shall focus on viewing the building space as a sound box for classical music. As a wooden instrument, it connects its specific purpose with its supporting structure and supportively imbeds the declining silhouette of the neighbouring church. The realisation shows the relationship between a private music salon that is still common today and a chamber music room that is scaled to the minimum, becoming the core of intimate chamber concerts.